编剧中的情感传递与认同:试点研究

Kirsi Reinola
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引用次数: 0

摘要

摘要 在以编剧艺术实践为重点的学术领域内,本探索性研究评估了孤独编剧在写作过程中的情感运输和角色识别过程。编剧既是叙事专家,又是视觉叙事诗人,编剧研究正面临着编剧角色的二分法。编剧往往是孤立工作的,即使在合作项目中也是如此,这导致了孤独工作与合作角色之间的矛盾。编剧的叙事理论主要集中在对观众的识别上,忽视了编剧的视角。然而,编剧可以作为一个实验平台,反映新思想、新见解和实践经验,满足系统了解编剧创作过程的需求。本研究的结果初步揭示了编剧实践中的情感运输、认同和尤里卡时刻机制。研究表明,编剧的运输效应是由任务限制所产生的安全感引起的。数据还表明,压力可以带来更具独创性的戏剧解决方案。因此,这项实验性试点研究已经揭示了编剧的艺术创作过程。然而,它也有局限性,包括信息提供者人数较少和研究方法的新颖性。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Emotional Transportation and Identification in Screenwriting: A Pilot Study
Abstract Within the academic domain focused on the artistic practice of screenwriting, this exploratory study assesses the presence of emotional transportation and character identification processes within the solitary screenwriter’s creative imagination during the writing process. Screen-writing research is facing a dichotomy of the screenwriter who embodies both the role of a narrative specialist and that of a visual storytelling poet. Screenwriters often work in isolation, even in collaborative projects, leading to a tension between solitary work and collaborative roles. Narrative theories in screenwriting have mainly centered on identification of the audience, neglecting the screenwriter’s perspective. However, screenwriting can serve as a platform for experimentation and a reflection of new ideas, insights, and hands-on experience, meeting the demand for a systematic understanding of the writer’s processes. The results of this study provide preliminary insights into the mechanisms of emotional transportation, identification, and eureka moments in screenwriting practice. The study suggests that the transportation effect in writers is induced by a feeling of security, which arises from the limitations of the assignment. The data also suggests that pressure can lead to more original dramaturgical solutions. As such, this experimental pilot study already sheds light on the screenwriter’s artistic process. Yet, it has limitations, including a small number of informants and the novelty of the research method.
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